約30年前傅瑞澤開始養羊時，羊毛是紐西蘭的明星出口品，其他綿羊產品如羔羊肉和羊肉只是配角。

Today, the situation is reversed. New Zealand’s sheep meat exports are up, while wool faces intensifying competition from synthetic fibers. Although sheep farming is still enmeshed in the fabric of New Zealand’s cultural identity, it is another economic activity that this nation is retooling for a globalized world.

如今情勢逆轉，紐西蘭羊肉出口增加，羊毛卻面臨人造纖維日益激烈的競爭。雖然養羊這種經濟活動仍與紐西蘭的文化認同緊密交織，但紐西蘭正在調整它，以適應全球化的世界。

“Wool has traditionally been — and still is — a very good product,” Mr. Fraser said. “The trouble is that now, a similar product can be manufactured out of used Coke bottles and all sorts of stuff.

傅瑞澤說：「羊毛一向是，也仍然是很棒的產品，問題是現在可用廢可樂罐和各種東西做出類似產品。」

From 1982 to 2011, New Zealand’s sheep population declined to 31.1 million from 70.2 million, according to government data, as many sheep pastures were converted to dairy farms or other uses. The roughly 17,000 sheep farmers who remain still earn money from selling the fleece of their animals. But on many sheep farms, meat has replaced wool as the primary profit maker.

官方資料顯示1982到2011年紐西蘭綿羊從7020萬隻降到3110萬，許多牧羊場轉養乳牛或改作他途。現在大概還有1.7萬羊農，雖仍賣羊毛賺錢，許多養羊場羊肉卻已取代羊毛成為最大財源。

Since 1990, the value of New Zealand’s annual exports of raw wool and manufactured wool products has declined to about $700 million from $1.2 billion, according to government data. By contrast, lamb and mutton exports have increased almost threefold to $2.3 billion. And dairy exports, worth $1.9 billion in 1992, have soared to $14.1 billion.

官方資料顯示，1990年以來每年羊毛和羊毛製品的出口額，從12億美元減為7億美元；羔羊肉和羊肉年出口額卻增為23億美元，幾乎是原來的三倍，乳製品出口額也從1992年的19億美元大增為141億。

New Zealand, with 4.4 million people, is the world’s third-largest wool producer behind Australia and China, according to Beef and Lamb New Zealand, a farmer- owned industry group. It supplies 45 percent of all carpet wool globally, the Australia and New Zealand Banking Group said in a report last year.

紐西蘭牛羊肉協會（牛羊農同業組織）資料顯示，人口440萬的紐西蘭是全球第三大羊毛生產國，僅次於澳洲和中國大陸。去年澳盛銀行發布報告顯示，紐西蘭供應全球四成五的地毯用羊毛。

Yet more than 90 percent of New Zealand’s wool is exported in raw form, rather than in finished products like carpets or upholstery, leaving it vulnerable to swings in commodity markets.

不過，紐西蘭羊毛逾九成以未加工形態出口，而非做成地毯、椅套等成品，易受原物料市場價格波動影響。

Farmers said the wool industry would benefit from having a unified voice to promote New Zealand wool abroad as a highend fiber that, in their view, beats synthetic alternatives in several categories, including overall quality and environmental sustainability. Having a single voice could help the industry reach beyond China, its primary export market by far, into relatively untapped markets like the United States.

許多羊農希望羊毛業團結起來，向海外宣傳紐西蘭羊毛是高檔纖維，在整體品質與促進環境永續發展等好幾個方面，（他們認為）都勝過人造纖維，這樣一定有幫助。一旦有統一的聲音，羊毛業就能在目前最大出口市場中國大陸以外，打入美國等相對未開發的市場。

But New Zealand’s wool industry is viewed as highly fragmented. There were 35 wool exporters operating across the country last year, “a huge level of decentralization” given the industry’s relatively modest export earnings, the Banking Group reported.

外界卻認為紐西蘭羊毛業分散得厲害。澳盛銀行指出，去年紐西蘭全國有35個羊毛出口業者，由於出口獲利相當微薄，這個產業可說是「極度分散」。

“Everyone’s sort of undercutting each other,” said Ross Andrews, a South Island farmer who earns around $3 a kilogram for his carpet-grade wool.

南島羊農安德魯斯出售地毯級羊毛，每公斤約賺3美元，他說：「每個人多少都在削價競爭。」

Wool growers long assumed that their industry would somehow look after itself, but there is now a clear need to promote wool over synthetic fibers, said Sandra Faulkner, an industry advocate. According to an industry group, Beef and Lamb New Zealand, wool accounts for 1.3 percent of global fiber production and synthetics 61.4 percent.

行銷紐西蘭羊毛的桑德拉．福克納說，羊農一直以為羊毛業終究會挺過難關，不過現在真的有必要宣傳羊毛比人造纖維好。紐西蘭牛羊肉協會資料顯示，羊毛只占全球纖維產量1.3%，人造纖維卻占61.4% 。

“It’s about identifying ourselves in the luxury marketplace, which is where we’ve always belonged,” Ms. Faulkner said.

福克納說：「我們要立足於精品市場，我們本來就屬於那裡。」

Peter Lyon, the supervisor of a South Island shearing team, said farmers’ views on how the wool industry should evolve typically depend on factors like whether they have reliable export contractors, the quality of wool they produce and their level of debt.

南島剪羊毛團隊督導里昂說，羊農對於羊毛業何去何從的看法，常取決於某些因素，如他們有沒有可靠的出口貿易公司、生產羊毛的品質和債務的多寡。

In the mid-20th century, wool growers were often “asset-rich and cash-poor,” Mr. Lyon said . “But you can’t afford to be cashpoor today or you’ll get thrown out. ”

里昂說，20世紀中期羊農經常「資產多，現金少」，「但在這個時代，你不能沒現金，否則很難生存」。

歐蘭德總統形容這棟建築是「光之教堂」，就是「才智、創意、科技的奇蹟」。

He was talking about the 11,700-square-meter, $135 million Louis Vuitton Foundation, a private cultural center and contemporary- art museum designed by Frank Gehry and inaugurated on October 21.

他說的是占地11,700平方公尺（譯註：約3,540坪）、斥資1.35億美元打造的路易威登藝術基金會，一座民間的文化中心和當代藝術館，由法蘭克蓋瑞設計，10月21日啟用。

Claude Parent, France’s 91-year-old eminence grise in architecture , said that when he first saw it, “I was seized by an emotion so strong that it seemed to come from something other than architecture.”

91歲的法國建築界大老克勞德．巴宏說他初見此建築時，「情緒澎湃到感動彷彿不單是來自建築。」

Paris is celebrating Mr. Gehry at the moment. Some critics have called the building in the Bois de Boulogne one of the most technologically sophisticated, artistically motivated buildings in an oeuvre that started with small wood-frame studios and houses in Southern California and is the subject of a retrospective at the Pompidou Center .

巴黎正在禮讚蓋瑞。有些評論家說，這棟位於布隆尼森林的建築在蓋瑞所有作品中，技術複雜性與藝術感均屬頂級。蓋瑞出道時在南加州蓋小木屋，刻在龐畢度中心辦作品回顧展。

At Vuitton, visitors encounter what looks like a Cubist sailboat, with glass sails and spinnakers rising above the tree line and billowing fore, aft, port and starboard. The building appears to glide over a cascade of water lapping down a stepped embankment below its cantilevered prow. The two-story structure has 11 galleries, an auditorium and multilevel roof terraces for events and art installations.

路易威登基金會訪客看來像艘立體派畫家筆下的帆船，透明的主帆和前三角帆自林木線揚起，從船頭到船尾，左舷到右舷，猛烈翻騰。建築看似在一道流水潺潺的石階瀑布上滑行。兩層樓的建築共有11座畫廊、一間展演廳和多個露臺，可以辦活動和擺設裝置藝術。

The site is next to the Jardin d’Acclimatation, a 19th-century children’s park and zoo . The architect had to build within the dimensions of a bowling alley that previously stood here; anything higher had to be glass.

基金會位在Jardin d’Acclimatation公園旁，19世紀是兒童樂園和動物園。原址是保齡球館，建築師必須在球館範圍內蓋屋，高出的部分得用玻璃。

Mr. Gehry said he needed the approval of only one client, Bernard Arnault, chairman and chief executive of the luxury goods conglomerate LVMH .

蓋瑞表示他只需要一位客戶的同意，LVMH精品集團的董事長兼執行長貝納．阿諾。

“The guy knew what he wanted, and he wanted a building that would be different than anything else anybody had ever seen,” Mr. Gehry said.

「這位仁兄知道自己要的是甚麼，他要的是與眾不同，前所未見的建築，」蓋瑞說。

Mr. Gehry ignored France’s geometric traditions. “The clouds of glass respond to nature’s geometry, to the park’s English landscaping,” he said of the Bois de Boulogne. “Nature’s apparent disorder has its own order.”

蓋瑞不管法國建築強調幾何線條的傳統。「玻璃雲回應的是自然的幾何學，（布隆尼）森林的英倫景觀。大自然表面上混亂，卻是亂中有序。」

Mr. Gehry said he was “very moved by the park, which reminded me of Proust’s Paris.” He added: “I read him over and over again, and I realized it was a pretty emotional site for everybody. ”

蓋瑞表示「被公園深深打動，想起普魯斯特年代的巴黎」。他又說：「我一再閱讀普魯斯特，發現公園會個讓每個人都情緒激動。」

He had two mandates: respecting the park and garden and satisfying the requirements for the galleries. “Once we had the big, basic premise that there was a solid piece for the galleries, which we started to call the icebergs, and then the glass sails for the garden, we started to work them independently,” Mr. Gehry said. “Merging the two would not work, because you couldn’t have curvy galleries, and you can’t hang paintings on glass.” The diaphanous sails, supported on an acrobatic armature of wood and steel, project outside the iceberg.

他有兩項任務：尊重既有的公園和花園，滿足畫廊的需求。「當我們有了畫廊所需的大面積場地，我們開始稱做冰峰，然後是公園的玻璃帆，我們開始分別作業。」蓋瑞說：「融合兩者行不通，因為畫廊不可能彎彎曲曲，畫作也不能掛在玻璃上。」透明玻璃帆由木材和鋼鐵的支架支撐，從冰峰伸出。

The glass s t r u c t u r e takes its place in a long Parisian tradition dating from the 13th-century Gothic Sa i nte - Chapelle on the Ile de la Cite, with its tall walls of stained glass, and the 19th-century Grand Palais, an exhibition hall whose glass vaults echo the vast public spaces of Rome. The Foundation’s fragmented, multidirectional forms recall the Cubism of Braque and Picasso.

玻璃結構在巴黎有悠久的傳統，可追溯至13世紀建於西堤島的哥德式聖禮拜堂，具有鑲嵌彩色玻璃的高牆；以及建於19世紀的巴黎大皇宮，內中展覽廳的玻璃拱頂呼應羅馬袤廣的公共空間。基金會片斷、多方向的形式，讓人想起立體派畫家布拉克和畢卡索。

Visitors enter a tall hall from which angled staircases and meandering paths lead to the galleries and to a roofscape of outdoor terraces enclosed by the glass sails. Between the iceberg and the sailboat, accordion spaces expand and contract, alternately intimate and grand, in what Mr. Gehry called “a chaotic dance.”

訪客進入一座大廳後，有角度的階梯和蜿蜒路徑通往畫廊和玻璃帆包圍的露天展演空間。在冰峰和帆船之間，摺門開開關關，空間時而私密時而雄偉，蓋瑞稱為「混亂的舞蹈」。

Not all critics have been impressed. In The Observer, Rowan Moore criticized the sails as unnecessary.

並非所有評論家都欣賞這件作品。羅漢．摩爾投書英國「衛報」，批評玻璃帆是畫蛇添足。

In the Pompidou retrospective, models and original drawings show the evolution of Mr. Gehry’s ideas leading up to the Vuitton Foundation. Other shows, said Frederic Migayrou, the deputy director of the Pompidou, “have portrayed Gehry’s buildings as an object, a shape.”

龐畢度中心的回顧展以模型和原始草圖，顯示到設計基金會為止蓋瑞構想的演變歷程。中心副主任費德烈．米蓋洛表示，其他展覽都是以物件、形體的方式呈現他的作品。

“I tried to do the reverse,” he said, “going through all the works to define the evolution of the language, the continuities, the idea of dynamic movement, how he opens form so that they interact with the city and provoke the movement of the body around the building.”

「我試圖反其道而行，」他說：「透過所有作品來定義建築語言的演化、連續性、動態活動的概念，他如何開展形式來和城市互動，激發觀者繞著建築看。」